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Music Production in 2025: Trends and Insights for Artists

The music production landscape in 2025 is undergoing significant transformation, influenced by technological advancements, evolving workflows, and shifting industry dynamics. For producers and DJs, staying informed about these developments is essential for maintaining relevance and competitiveness. This article explores key trends shaping the industry, including the integration of artificial intelligence (AI), the growth of ghost production, and the increasing demand for customized services.
The integration of AI into music production has introduced new tools that assist in various aspects of the creative process. Platforms like Suno AI and Udio enable users to generate music based on text prompts, offering capabilities such as lyric generation and multi-genre composition. LANDR provides AI-driven mastering services, streamlining the post-production phase for artists . These tools are designed to augment the creative process, offering efficiency and new avenues for experimentation
Ghost production continues to be a significant aspect of the music industry, allowing artists to release music without being involved in the production process. This practice supports artists in maintaining a consistent release schedule and enables paid coproducers and ghost producers to monetize their skills. Platforms like EDM Ghost Production offer services that cater to these needs, providing tracks that artists can release under their own names.

AI tools are also facilitating faster delivery times in music production. By automating certain aspects of the production process, these tools enable quicker turnaround, allowing artists to respond promptly to market trends and audience preferences. This efficiency is particularly beneficial in the fast-paced environment of electronic music, where timely releases can impact an artist’s visibility and success, as says thetimes.co.uk
The role of ghost producers is evolving, with many now offering additional services such as mixing, mastering, and even marketing support. This expansion reflects a broader shift towards comprehensive production solutions, where artists can access a range of services from a single provider. Such integrated offerings streamline the production process and can enhance the overall quality and coherence of the final product.

As the music production industry continues to evolve, artists and producers must adapt to new technologies and practices. The integration of AI tools offers opportunities for innovation and efficiency, while the growth of ghost production and customized services provides avenues for artistic expression and market responsiveness.
Platforms like EDM Ghost Production, Suno AI and Udio are at the forefront of these developments, offering services that align with current industry trends. By leveraging such resources, artists can navigate the changing landscape of music production, ensuring their work remains relevant and resonant with audiences.
In 2025, music production is characterized by a blend of technological innovation and personalized services. The adoption of AI tools, the prominence of ghost production, and the emphasis on customization are reshaping how music is created and consumed. For artists and producers, embracing these trends is crucial for sustaining creativity and competitiveness in an ever-evolving industry.
The post Music Production in 2025: Trends and Insights for Artists appeared first on EDM House Network.
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Instantly Match Clip Colors with AI Color Tools on CapCut PC

Color matching is an important process in video editing. It gives your video a neat and professional look by having the color balanced and harmonized across the clip. Good color matching can provide your video with a uniform appearance that feels smooth and pleasing to the eyes. Good color matching can make your video stand out, and its absence can make your video look unbalanced and draw attention away from the viewer. CapCut PC simplifies this process with its AI Color Tools. These AI tools automatically color match between clips, which is time- and effort-saving. Whether creating a YouTube video or a personal project, CapCut PC’s AI tools produce professional-looking videos without the trouble of doing it manually. AI Color Matching on CapCut PC: A Revolution for Video Editors
It’s tedious and hard to color match on videos. You need to trim every clip so that the colors come out correctly. That’s not good, particularly if lighting levels change or the clips are of different origins. It takes forever getting everything to match up correctly. But with CapCut PC’s AI Color Tools, it’s easy. CapCut PC’s AI feature will automatically detect and synchronize colors in your clips. It helps you have a professional appearance instantly without investing hours changing color settings. It is a very accurate and fast method of enhancing the quality of your video. Even though CapCut PC is a free download, there is an in-app purchase for advanced functions. If you want to have the best possible use of your content, CapCut also features a text to speech function that enables you to easily add voiceovers to videos. With such functions, CapCut PC is a must for your video editing needs. Why Color Matching is Necessary for Your Video Projects
Color grading consistently is important in storytelling in your video. When your video color is well matched, it will have an impact on the mood in the right place and will maintain the viewer’s interest. But when colors are not matched, they distract the viewer and will make the video look disjointed. This is a loss of the overall quality of the video. For professional work, YouTube videos, and branding videos, color matching plays a big role. It provides the visuals with a smooth and polished appearance, which is an indication of the quality of the content. With CapCut PC’s AI Color Tools, color matching is a breeze. Rather than having to adjust each clip manually, the AI does it for you, saving time and being more precise. Keeping color consistent also makes your video editable in other editing programs, such as the AI video generator, so you can make beautiful visuals that perfectly match your color scheme. This produces a unified, high-quality video. How to Use CapCut PC’s AI Color Matching Feature
Step 1: Install CapCut Desktop Video Editor
Start by downloading CapCut PC from its website. After downloading, install it by running the installer and completing the sign-up process to open your account. The installation is free, and CapCut also offers free usage, though the advanced features demand that you subscribe. Ensure that you have an internet connection for this step. Step 2: Upload Your Video Clip
Open CapCut PC after installation. To start editing, press the “Import” button to upload your video clip. CapCut PC accommodates different file types like MP4, MOV, and AVI, allowing easy handling of multiple video types. After uploading your video, it will be shown in the editor, ready to be adjusted. Step 3: Apply AI Color Tools for Color Matching
To use the AI color match tool, go to the “Adjustments” icon in the top menu. Click on the “Color Matching” tab. The tool will automatically match your clips’ colors. You may also fine-tune, i.e., modify the light or contrast, for better color matching when necessary. CapCut PC also gives you access to add a voice changer tool on top of your videos and unique voiceovers, another method through which your edited videos will be elevated. Step 4: Finalize and Export
Once you are satisfied with color matching, finish making your final adjustments to your video, for instance, resolution or frame rate. Click “Export” to save the video to your computer or upload it directly onto your chosen platform. Why You Should Use CapCut PC’s AI Color Tools
CapCut PC stands out from other video editors in that it has quick and efficient AI color matching tools. Unlike most other editors, CapCut PC colors match automatically between clips, which will save you time and effort. It is also simple to use, making it ideal for beginners and professionals. One special advantage of CapCut is that it does not leave watermarks on exports when you use the paid version, and it processes quickly. The free version works fine for most applications, but if you need more professional functionality, a paid option is a good choice for professional-level output. Conclusion
Video editing is quicker and more professional with AI color matching in CapCut PC. The software assists you in getting a sleek look by auto color matching, which saves your time. For any professional or personal work, the AI color tools of CapCut PC are the ideal choice. The easy-to-use features of the software make the whole editing process easy. You can begin with the free version and move to the paid features if you require more advanced tools. Try CapCut PC today and discover how it can enhance your video editing workflow. The post Instantly Match Clip Colors with AI Color Tools on CapCut PC appeared first on EDM House Network.
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Shibui Releases Brand New Single ‘Ai Koi Ai’ On Tankfloor / Warner Music Italy

Multi-platinum singer, songwriter, and producer Shibui returns with her highly anticipated new single, ‘Ai Koi Ai’, set for release on May 30 through Tankfloor / Warner Music Italy. Known for her genre-fluid style and remarkable vocal versatility, Shibui continues to shape the future of European electronic and pop music with a sound that effortlessly bridges mainstream appeal and underground edge.
With over 1.6 million monthly listeners on Spotify and more than 1 billion total streams, Shibui has become one of the most sought-after voices in the industry. Her collaborative portfolio includes high-profile names such as Dimitri Vegas & Like Mike, R3HAB, Prezioso, Gabry Ponte, LUM!X, VINAI, Afrojack, Blasterjaxx, Scooter, Marnik, Mariana Bo, LIZOT, Shanguy, Stefy De Cicco, Vini Vici, and Paolo Pellegrino, underscoring her versatility and creative influence across genres.
Her music has consistently charted in Spotify’s Top 50 across multiple countries and has appeared on the Global Viral 50 as well as the Billboard Dance Charts. In addition to chart success, her tracks have featured in global brand campaigns, international television programming, gaming content, and major digital campaigns, broadening her reach far beyond the streaming world.
Multi-platinum singer, songwriter, and producer Shibui returns with her highly anticipated new single, ‘Ai Koi Ai’, set for release on May 30 through Tankfloor / Warner Music Italy. Known for her genre-fluid style and remarkable vocal versatility, Shibui continues to shape the future of European electronic and pop music with a sound that effortlessly bridges mainstream appeal and underground edge.
With over 1.6 million monthly listeners on Spotify and more than 1 billion total streams, Shibui has become one of the most sought-after voices in the industry. Her collaborative portfolio includes high-profile names such as Dimitri Vegas & Like Mike, R3HAB, Prezioso, Gabry Ponte, LUM!X, VINAI, Afrojack, Blasterjaxx, Scooter, Marnik, Mariana Bo, LIZOT, Shanguy, Stefy De Cicco, Vini Vici, and Paolo Pellegrino, underscoring her versatility and creative influence across genres.
Her music has consistently charted in Spotify’s Top 50 across multiple countries and has appeared on the Global Viral 50 as well as the Billboard Dance Charts. In addition to chart success, her tracks have featured in global brand campaigns, international television programming, gaming content, and major digital campaigns, broadening her reach far beyond the streaming world.

The post Shibui Releases Brand New Single ‘Ai Koi Ai’ On Tankfloor / Warner Music Italy appeared first on EDM House Network.
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Martin Wave Releases New Electronic Single “CONTROL” ft. Izzy Bizu & CAPPA

Award-winning, platinum-selling producer and artist Martin Wave returns with his latest single, “CONTROL,” featuring Grammy-nominated, British-Ethiopian singer Izzy Bizu and electro-pop artist/writer CAPPA, out on May 30th. The track is part of the soundtrack for the F1 game alongside artists like Jamie XX, Diplo, Austin Millz, Sofi Tukker, and others, launching the same day, and in a national Apple TV campaign airing June 20.
The catchy, electronic track exudes confidence and showcases Martin’s signature cinematic production style. Known for his work with artists like Post Malone, BTS’s Jin, and Suki Waterhouse, as well as major campaigns for Marvel, Star Wars, and Apple, Martin continues to blur the lines between pop, film, and electronic music.
“CONTROL” is the first release on Parasol Music, the label, creative sync agency, and community Martin launched with his wife, Grace Hong, in 2024. “Parasol is becoming a hub for purpose-driven artists and represents a new model representing the next wave of the music industry,” Martin shares.
“CONTROL” is inspired by themes of female empowerment, celebrating strength and the ability to overcome obstacles, even when the odds are stacked against you.
Martin Wave, traditionally known for his work as a producer, will be releasing his debut album in 2025.

The post Martin Wave Releases New Electronic Single “CONTROL” ft. Izzy Bizu & CAPPA appeared first on EDM House Network.
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Epic Demand for Sold Out EDC Las Vegas 2026: Here’s What You Need to Know About Hotel EDC’s Return

The 30th anniversary of EDC Las Vegas is already shaping up to be one for the history books with GA and VIP passes already sold out, and now Hotel EDC 2026 is open for bookings. Ravers, you can now prepare ahead. Insomniac and Vibee officially announced the return of Hotel EDC 2026 at Virgin Hotels Las Vegas. This follows a record-breaking sell-out of festival passes for next year’s edition. The exclusive three-night hotel experience will once again transform Virgin Hotels Las Vegas. Step into a vibrant, multi-sensory EDC playground from May 15-18, 2026—offering Headliners immersive escapes extending beyond the Speedway.
EDC Vegas Sells Out, Hotel EDC 2026 Sales Open
In what has become a milestone moment for North America’s largest dance music festival, EDC Las Vegas 2026 is now sold out, months ahead of schedule. Both GA and VIP tickets vanished in record time, marking the fastest sell-out in the event’s three-decade history. Hotels surrounding Vegas have surged in demand too.
This leaves Hotel EDC as the only official Headliner lodging still available. An exclusive, limited-capacity experience for those who want the full EDC immersion. For three days and nights, Virgin Hotels Las Vegas will be overtaken by Insomniac-curated parties, pop-up DJ sets, wellness sessions, and exclusive rave amenities.
Each Vibee Hotel EDC package includes:
Three-night stay with EDC-themed décor Daily food and beverage credits at restaurants like Nobu, ONE Steakhouse, and Lucia Mexican Grill Access to pool parties and pop-up performances curated by Insomniac Wellness programming, glam stations, and surprise events Headliner HQ with live sets and daytime programming Free parking, gym access, 15% off spa treatments, and more Guests will also receive limited-edition merch and a Headliner party pack upon arrival, all coordinated by Vibee’s on-site concierge.
Book Your Hotel EDC Las Vegas Experience for 2026
While the full Hotel EDC 2026 lineup has yet to be revealed, past editions have featured artists like Gorgon City, Adam Ten, and Jackie Hollander. With the 30th anniversary of EDC looming large, fans can expect another wave of top-tier talent and surprise performances at the hotel’s poolside stage and pop-up venues.
The Hotel EDC experience has evolved into a signature part of EDC Las Vegas. It caters to fans who want a more curated, comfortable, and extended celebration. As demand continues to outpace supply, 2026 may be the last chance for fans to lock in accommodations that keep the rave alive 24/7.
Following a massive 2025 edition, Hotel EDC’s general on-sale is now open via HotelEDC.com.
The post Epic Demand for Sold Out EDC Las Vegas 2026: Here’s What You Need to Know About Hotel EDC’s Return appeared first on EDMNOMAD.
View the full article
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Shimza Unveils Weekly Lineups for ‘Shimza & Co’ Residency at Chinois Ibiza Every Friday August 8th – August 29th

This summer, Ibiza gets a powerful dose of African electronic energy as global Afrohouse trailblazer Shimza, one of South Africa’s most influential musical exports, announces his brand new ‘Shimza & Co’ residency at the iconic Chinois. He’s inviting a world-class lineup of special guests; Andrea Oliva, Kitty Amor, Tripolism, Dennis Ferrer, Arodes, Antdot, Mila Rose, Le Yora, Zakes Bantwini, Stofella, &Friends, Darque will join Shimza under the disco ball in the intimate surroundings of Chinois in Ibiza’s Marina for four special Fridays of sensational sounds. 
Known for his deep, hypnotic blends of Afro House and Afro Tech, Shimza’s month-long stint at the renowned Ibiza venue promises to be a defining highlight of the summer clubbing calendar.

Fresh off a series of high-profile collaborations – including his recent single ‘Skill of Love’ with Alex Wann, Elderbrook on the acclaimed album ‘Another Touch’, and previous projects with the likes of Aloe Blacc, CamelPhat, WhoMadeWho, and Louie Vega – Shimza is riding a powerful wave of global momentum. His fast-growing weekly ‘Karma Karma’ radio show now reaches over one million listeners, while his live sets continue to captivate audiences worldwide, from his Boiler Room debut to standout festival performances and headline shows.
Some of the talent joining Shimza inc: Switzerland’s finest export, now global headliner & Ibiza mainstay Andrea Oliva; London-based deep/Afro house talent and Mixmag cover star Kitty Amor, releasing on Warner, Defected; NYC’s soulful selector Dennis Ferrer; one of Brazil’s leading names Antdot (Afro/melodic house w. Brazilian samba), used to frequenting stages like Tomorrowland Brasil & Belgium; Copenhagen trio Tripolism bring their effortless blend of house, techno and disco; Cape Town’s Mila Rose, known for her infectious rhythms and soulful melodies; San Diego born, Dubai-based &Friends,whose sets are inspired by tradition, culture and community.
The residency at Chinois marks Shimza’s return to Ibiza, where he’s previously brought his Kunye brand – a visionary label and event series that has become a vital force in pushing African electronic music into the global spotlight. Kunye has hosted groundbreaking events from Johannesburg to London, including a legendary B2B set with Black Coffee and upcoming showcases like their stage takeover at London’s ‘High Lights: Enter The Realm’ festival in June 2025.
“Shimza & Co” at Chinois will showcase Shimza’s magnetic sound & a globally diverse selection of top DJ talent. Expect deep grooves, hypnotic rhythms, and a global celebration of cutting-edge Afro sounds in one of the island’s most iconic venues.

“Ibiza has always had a special energy, and I’m excited to bring Shimza & Co to Chinois this August. Every Friday, I’ll be joined by artists I truly admire—creatives pushing boundaries and representing the future of Afro-House and electronic music as a whole. This isn’t just a party—it’s a movement. Let’s make memories on the dancefloor.” – Shimza
Shimza & Co Weekly Line Ups:
Friday August 8th: SHIMZA, ARODES, KITTY AMOR, LE YORA
 
Friday August 15th: SHIMZA, TRIPOLISM , ZAKES BANTWINI, DARQUE
 
Friday August 22nd: SHIMZA, ANDREA OLIVA, &FRIENDS, STOFELLA
 
Friday August 29th: SHIMZA, DENNIS FERRER, ANTDOT, MILA ROSE

Connect with: 
Chinois – @chinoisibiza
Shimza – @shimza.dj

Chinois Address:
Passeig Joan Carles 1, 17, 07800 Ibiza
Opening Hours: 23:30 – 06:30
The post Shimza Unveils Weekly Lineups for ‘Shimza & Co’ Residency at Chinois Ibiza Every Friday August 8th – August 29th appeared first on Electric Mode.
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Get To Know: Confused Duck, The Producer Who Waddles To His Own Rhythm

Meet David, the 39-year-old behind Confused Duck, a small-town maverick with a keyboard and a dream. Known locally as the guy who doesn’t quite fit in, think cowboy hat, pipe, and a refusal to follow the crowd, he’s embraced his nickname, The Confused Duck, with pride. In a world of cookie-cutter beats, Confused Duck waddles to his own rhythm with the release of his debut single, Techno Makes Me Feel. This pulsating techno-dance track is more than just a song, it’s a lifeline, a creative outlet, and a bold step for a self-taught artist who’s as unique as his pipe-smoking, cowboy-hat-wearing duck persona. We caught up with the Duck DJ to talk all things music, production and bucket list sets.  
 

Introduce yourself in one paragraph: 
Hi, my name is David. I am married with two kids and I suffer with mental health issues. I like to be different and I am always up for a laugh, love watching comedies and also love listening to music. 
Were you connected with music from a young age, or anyone in particular inspired you? I have loved music from a young age, listening to a lot of 80s and 90s music, mainly dance but all music as a whole as I have eclectic taste. 
What first kickstarted your musical career? 
It started more as therapy than anything, it was suggested to help me cope with my mental health issues. 
Tell us more about your sound and how it has evolved. 
I went for a techno beat as I have always had a love for techno, but I am now looking at drum and bass. I tend to change genres to something I think sounds good at the time. 
Any words you want to share to encourage other artists and producers?
I would say go for it if you have a love for music. It is worth it, I have had fun doing this. Music is good for the soul and it is certainly helping me. 
Is there anyone specific you’d like to thank that has helped you evolve and why?
I would like to thank my wife and children along with the rest of my family as they have all been very supportive through this. They have all been a big help when times get a little stressful. 
Name 3 albums or labels that have inspired you the most. 
Introspective by Pet Shop Boys, Jumping All Over The World by Scooter and Underworld Born Slippy 
What’s your favourite piece of studio equipment or software? 
My keyboard and my PC have got to be my favorite equipment in making music.
Name your favourite club or festival in the world, and how does it make you feel?
I would love to go to Es Paradis, the atmosphere there is amazing and the overall vibe is good. 
Favourite clubbing memory, who or what did it involve? 
I loved clubbing at Skegness when i was younger, going to Strikes where they used to play amazing music. I had many happy times going there with my wife before we were married. 
What quote represents you best? 
In my defence, I was left unattended. 
If you could play any venue, where would it be and why? 
I would love to do DJing in Ibiza in a club like Es Paradis because I have heard the atmosphere and pure love for dance music there is unbelievable. 
Music is…
A lifeline and a passion. 
One song you really couldn’t live without? 
Born Slippy by Underworld 

Name drop your favourite tunes, artists or DJs (past or present) 
Avicii, Pet Shop Boys, Sub Focus and Scooter, among many others as I have a love for all genres of music. 
Tell us more about your plans for the future. 
I plan to release more music of different genres for all of the world to enjoy. I don’t plan on sticking with one genre. 
Any worldly advice you’d like to share? 
No matter how hard life seems, there is always light at the end of the tunnel. Keep strong and you will get through it.
The post Get To Know: Confused Duck, The Producer Who Waddles To His Own Rhythm appeared first on Electric Mode.
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A Duck Out of Water Drops a Dancefloor Gem: Confused Duck’s Techno Makes Me Feel 

In a world of cookie-cutter beats, Confused Duck waddles to his own rhythm with the release of his debut single, Techno Makes Me Feel. This pulsating techno-dance track is more than just a song, it’s a lifeline, a creative outlet, and a bold step for a self-taught artist who’s as unique as his pipe-smoking, cowboy-hat-wearing duck persona.

Techno Makes Me Feel is a solo endeavour born from Confused Duck’s love for dance music and his personal journey with mental health challenges. Inspired by the genre’s infectious energy, he crafted this track as a therapeutic escape, pouring heart and soul into every beat. With no formal training and only music production software as his guide, he navigated a long, experimental process to create a track that’s raw, real, and ready to move listeners.
Meet David, the 39-year-old behind Confused Duck, a small-town maverick with a keyboard and a dream. Known locally as the guy who doesn’t quite fit in, think cowboy hat, pipe, and a refusal to follow the crowd, he’s embraced his nickname, The Confused Duck, with pride. His artwork, featuring a dapper duck mirroring his style, captures his quirky spirit. Music became his refuge after picking up a cheap keyboard to cope with mental health struggles, recommended as a creative outlet. When the nights get tough, he dives into music, finding solace in its rhythms. Supported by his wife and two children, he’s taken a leap into the music world, learning daily despite his self-described amateur status. I’m a bit nervous about the attention, he admits, preferring to stay in the shadows while letting his music shine.
Influences
Avicii, Scooter
Support Confused Duck on Social Media 
Twitter
Listen to more of Confused Duck
Spotify | Apple Music
Listen Here 
—
The post A Duck Out of Water Drops a Dancefloor Gem: Confused Duck’s Techno Makes Me Feel  appeared first on Electric Mode.
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Push delivers ‘Starlit It’s Time To Play’ EP to Filth On Acid!

Push brings his distinctive take on hard techno to Filth on Acid with new ‘Starlit It’s Time To Play’ EP.
 
Belgian born and now based in New York City, Push has a multitude of guises but this is his most well known. It’s a place for arresting techno on labels like Epoque, Revealed Recordings, Memoro and Filth on Acid where he has previously released with the likes of label head Reinier Zonneveld and Joyhauser.
 
‘Starlit It’s Time To Play’ opens with dark, hard, kinetic kicks that form the foundation for lashings of visceral and hellish synths which bring real edge and tension to the rave. Some bright trance synths and a female vocal provide emotional release and ‘Microgravity’ then drills down with a blazing bassline and sawtooth synths that tear it up while the earth shattering kicks rumble on. ‘Cryptic Vision’ is last and is a monstrous banger with twisted stabs and classic trance techno chords over unresting drums. It’s explosive and emotional and sure to blow the roof off.
 


Push’s ‘Starlit It’s Time To Play’ EP is a perfect blend of trance, techno and rave for contemporary dance floors.
https://www.instagram.com/mikepushofficial/ 
https://soundcloud.com/mikepush
https://www.facebook.com/MikePushOfficial 


The post Push delivers ‘Starlit It’s Time To Play’ EP to Filth On Acid! appeared first on Electric Mode.
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Who The Hell Is Cydnee with a C?

‘Be weird! That’s my advice to the world.’ – Cydnee with a C.
Individuality and artistry go hand in hand. Cydnee with a C knows this all too well. In fact, she relishes the very quirks that others once attempted to stamp out of her; advocating for uniqueness and living life as her raw and authentic self.
Cydnee is an LA-based, k-pop-obsessed singer, a hardcore drum & bass fan-girl, a songwriter. She is also a studio engineer who mixes and masters all of her own tracks. A flex? Yes. Did she know about it? Hell no. These things aren’t a big deal to Cydnee. They are merely a standard part of the process for the Atlanta-born artist.
Introducing: POV, Cydnee’s latest project, is a six track EP that is both fully representative of Cydnee as an artist and a scrumptious display of what happens when you intertwine k-pop with drum & bass.
With the release of POV and her incoming performance at Electric Forest festival on the horizon, Cydnee Zoomed in from sunny LA to tell us more.
Cydnee! You’re heavily influenced by k-pop and drum & bass. How have these sounds shaped the Cydnee with a C project?
I love drum & bass so much, and I love k-pop so much. That’s all I know. That’s all I listen to. K-pop and drum & bass go hand in hand to me. I love both. I introduced my producer to k-pop and he introduced me to drum & bass music. We made ‘Cry Alone’, that was our first drum & bass track together, and I was like ‘Oh yeah, we’re going to make a bunch of these!’ So Confessions of a Fangirl was kinda like that, not wanting to be alone, just exploring drum & bass roots. I went in a different direction with POV, it was that soft spot between the two. It feels good, sorta how k-pop feels good. POV is basically a POV of a fangirl who loves music. You turn all the stuff that feels sad and painful into something that feels sonically good. I love drum & bass so much because it reminds me of k-pop.
What are the similarities between the two that you love?

It’s the pushes and pulls of both. I’m a sonics girl. Sonics is my love language, honestly. With drum & bass, I love the bass. I’m from Atlanta, you gotta have some bass. But with k-pop I love how they talk about concepts and they come around full circle. I’m really big on that when I’m writing concepts and what that means. The takeaway when you walk away, that’s k-pop. So combining those two with my type of music, you know, with the R&B, my black side from Atlanta, drum & bass taps into that side of me too, I dunno why it just does. And then the k-pop side and the concepts, that just basically makes the music and the projects come around full-circle.
It’s not just the k-pop genre that you love, what is it that you love about Korean culture?
They are very thorough and efficient. When they tackle a concept, they put it in everything and it comes around full circle. Then at the end of that experience, song, video, stage, whatever it is, it’s like you walk away like ‘Yeah man. That was it.’ You get it, you feel it. With my songs ‘Forgiveness’ and ‘Spend It’, I took influence from studying k-pop and their efficiency, and their culture and music. They really drill it in. That’s what makes a hit record for them. I learn so much from listening to k-pop music and learning about the culture. I learn and then I apply those learnings into my music. It means more for me too. So when people are like ‘That ‘Forgiveness’ man, I felt that.’ I’m like ‘Word, man, I wanted that for you, and for me!’
You’re all about vibes and the culture rather than about social media or numbers. What are your thoughts around social media?
Us artists, we’ve made it so hard for ourselves. We picked the wrong time to be serious, you know? When you’re creating music you’re not supposed to be thinking about anything else other than that. No social media. I like to freestyle my stuff too. I like it when you’re freestyling you feel like you’re speaking in tongues, it’s coming from some other source. And in order to do that, you have to let everything go. You can’t be thinking about nothing. You gotta have good vibes in the room. So yeah, I do like vibes, it’s easier for me to flow. I just want to connect. Get into that anything-is-possible space. Singing and freestyling is basically saying what’s on your mind in a very dramatic way. It’s therapeutic. It’s been easier to disconnect lately. Just freestyle. That’s my disconnecting space where it’s not hard for me. 
Something we’re definitely missing as adults is that art and importance of play…
Remember when you were a kid and you can manifest anything? You’d be like ‘Yeah, I’m going to the mall!’ And then you’d go to the mall, then you’d go here, then you’d go there. In creative worlds, I feel like people get free with that. It’s so rewarding because you’re able to play. Just trust yourself in that moment and process. Those are the things that resonate with people and audiences. That’s what I’ve learnt. We have to take our minds off stuff. Just let your mind go to any place you can. That’s why music is important. People can just go wherever. Going on walks is the equivalent of that, physically. Going on a long walk, you let your mind wander, you talk to god like you’re on the phone.  Those moments are so therapeutic. They’re important.
You engineer, mix and master all your music. You posted on Instagram about there being a fear in talking about this – can you tell us more about why?
It is something that I always felt a certain way about. Trippie Redd will call me an underground queen. Some say ‘The most talented person is always the most overlooked.’ You know? When people know I do all these things, I feel a bit more nervous like, oh now they’re going to critique it a bit more or listen a little harder, because I mixed it all. If they find one flaw then they’ll put it on me. That, sometimes, intimidates me. My team actually thought I had some guy here mixing all my stuff, until they came to my studio and they were like ‘Oh, so you do it?’ Yeah I do it! I didn’t know that I had to let it be known. I didn’t know it was a flex until recently. Recording and mixing your own stuff. For me, it’s regular. I learnt from my old engineer. He was overworked and Trippie took him away from the studio so I had to do it myself. 
For POV we were going to have someone else come in and master the project but it didn’t turn out as good as my mixes, so it actually ended up being a lot of work for me to mix and master my own project. Something that I did for my last project, Confessions of a Fangirl, too. It was great, but it was a lot! It all fell on me. I’m grateful though, because people are noticing all the work I was putting into stuff. Mixing and engineering, a lot of times in the past, I would get men who are like ‘What you gonna do?’ In the studio or they’d be uncomfortable with paying me a certain amount of money an hour. That would bother me too, those reactions. All in all, that’s why there is a little fear around that.
Sharing that will have a positive impact on other women, who may now consider doing everything themselves. That’s super positive. 
I didn’t see that at first, but when I saw other women grasping on, it inspired me to talk about it more. I didn’t know what I was worth at times. People would feel more comfortable paying a guy, who’s not as good as me, rather than paying me. Or I would take the $30 an hour over the $50 the guys were being paid, but I should’ve said I wanted more. It sucked, until people actually got into a session with me and were like ‘Oh!’. Sometimes it’s so indirect, and sometimes it’s direct. It happens a lot, in lots of different ways. It’s important to know when to speak up! I would love to inspire girls to speak up more about stuff like this. 
In a fast paced and saturated music industry – what do you think is the most important thing to remember is?
I’m so grateful to my team and managers because they make me feel so cool, when at first, I felt so uncool. I was surrounded by all these Soundcloud rappers and no one understood my excitement. They thought I was weird for a lot of the music I was into. People in the past didn’t want me to do k-pop reactions. They were like ‘You’re black. You’re from Atlanta. You shouldn’t be doing that.’ And I would listen to them. Then I realised, the weirder you are, the more original you are. I say that to some of my clients when I’m engineering sessions.  I want to make people feel comfortable and confident. Be your weirdest self, even if it’s stupid. That’s always my advice. That’s what makes you, you. Sounds clique, but it’s true. I know that because the k-pop that people were trying to turn me against, ended up being part of my whole entire steeze! When you see Beyoncé on stage going for it, it’s weird! We like it because she’s in it. She’s experiencing something. People are weird when they’re really feeling it, and that’s beautiful, and it’s healing. That’s what it’s all about.
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My Forever Studio: Luxxury goes punk rock in the Bahamas

Luxxury might be known for the One Song show but on this podcast, we’re all about Six Items. How will he fare in Studio Foreverdom?
If you’ve got absolutely no idea what we’re talking about, that’s fair — let’s break it down.
Luxxury, the LA-based musicologist, producer, DJ and remixer (real name Blake Robin) is renowned for his groove-laden remixes and edits. But you might also know him as the co-host of the critically-acclaimed One Song podcast, where he and Diallo Riddle strip back iconic tracks to find out how they were produced. In this episode of My Forever Studio, brought to you in partnership with Audient, we chart his journey from drummer to producer via a collection of important four-track tapes.
We dive deep into discussions around musical gatekeeping, explore how to keep a DIY punk-rock ethos alive in the studio, and discover which legendary artists Luxxury dreams of ‘borrowing’ instruments from.
Listen to the full episode on your favourite podcasting platform.

When Luxxury’s not pulling apart your favourite music, he’s blending disco, funk, and house to make bona fide bangers. His remixes and original tracks have found mainstream appeal and have been played on dance floors worldwide, making him a sought-after figure in the contemporary electronic music scene.
In the previous episode of My Forever Studio, producer and viral content creator Ellie Dixon joined us to share her home recording secrets — including which kitchen utensils double as the ultimate percussion instrument. You can check out the full video, recorded at TYX London, below, or listen on your favourite podcasting platform.

The My Forever Studio podcast – created in partnership with Audient – sees artists, producers, and engineers create their dream fantasy Forever Studio, wherever they want in the universe. However, hosts Chris Barker and Will Betts impose some strict rules in the Forever Studio. Our guests are permitted a limited number of items in their creative space, so they must choose carefully. There will be nostalgia. There will be anecdotes. There may be gags. But there will be no bundles!
Subscribe to My Forever Studio on Apple Podcasts and Spotify, and check out all episodes so far via MusicTech.
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Sly Stone, Revolutionary Funk Rock Musician, Dies at 82

Photo Credit: Sly Stone (second from left) with Sly and the Family Stone for Epic Records (1968)
Revolutionary funk musician Sly Stone, whose Sly and the Family Stone redefined popular music in the late 1960s and early ‘70s, has passed away at age 82.
Born Sylvester Stewart, Sly Stone had been in poor health over the last few years. His publicist, Carleen Donovan, confirmed his death to the press. Stone died on Monday in Los Angeles, surrounded by family, after battling with chronic obstructive pulmonary disease (COPD) “and other ailments.”
Sly and the Family Stone was the first major group to feature a lineup of both Black and white men and women. Founded between 1966 and 1967, the group embodied the era—a time when “anything seemed possible.” Their music combined rapid-fire horns and guitar, as well as groovy rhythms, combining jazz, doo-wop, psychedelic rock, soul, and funk.
The band peaked in popularity from about 1968 to 1971, but despite their brief time at the top, Sly and the Family Stone captured the essence of the Woodstock era like no other. With hits like “I Wanna Take You Higher,” “Stand!,” and “Family Affair,” the group’s music spoke to a generation.
Sly and the Family Stone started as a sextet with Sly on keyboards, Larry Graham on bass, Freddie Stone on guitar, Rose Stone on vocals, Cynthia Robinson and Jerry Martini on horns, and Greg Errico on drums. Their debut album, A Whole New Thing, featured the breakthrough single, “Dance to the Music,” which hit the Top 10 in April 1968—the week Rev. Martin Luther King was murdered.
In 1969 at Woodstock, Sly led the group through a new era. Their songs, like “I Wanna Take You Higher” and “Everyday People,” were anthems of hope, community, and non-conformity. Five of their tracks were Top 10 singles, while three of them reached No. 1.
Other performers of the time tried to look and sound like Sly and the Family Stone, namely The Jackson Five’s breakthrough hit, “I Want You Back,” The Temptations’ “I Can’t Get Next to You,” and Miles Davis’ “Bitches Brew.” These and other songs from the late 1960s tried to capture Sly’s lightning in a bottle and recreate both his vocal style and the group’s instrumental arrangements.
But by the early 1970s, Sly was beginning to feel the weight of his rapid ascent to fame. His record company was champing at the bit for more hits, while the Black Panthers pressured him to drop the white members from his group. These stressors, plus his move from the Bay Area to Los Angeles, saw him become increasingly hooked on cocaine, which led to progressively erratic behavior. He became notorious for being late to his concerts or not showing up at all. His promised album, The Incredible and Unpredictable Sly and the Family Stone, never became a reality.
His music in the next decade echoed the separatism and paranoia that followed the end of the ‘60s. There’s a Riot Going On, released in 1971, set the tone for many Black artists to follow. These include Stevie Wonder’s single, “Superstition,” and Marvin Gaye’s album, What’s Going On.
Sly and the Family Stone had broken up by the end of the 1970s, and Sly was releasing solo records filled with unrealized promises. Most of the news he made from this point on involved his financial troubles, mishaps on stage, and drug busts.
The group was inducted into the Rock & Roll Hall of Fame in 1993 and honored in 2006 at the Grammy Awards. However, Sly released only one album after the early 1980s, I’m Back! Family & Friends, but much of the project was simply updated recordings of his older hits. According to Sly, he had hundreds of unreleased songs, and he did occasional collaborations.
Sly Stone had three children, including a daughter with Cynthia Robinson. He was also married once, a brief and very public wedding on stage at Madison Square Garden to actress Kathy Silva in 1974.
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New York’s Music Industry Trio—Music Investor Conference, Indie Week, and Anti Social Camp Ignite the City This Week!

Photo Credit: Anti Social Camp
This week New York City’s music industry comes alive with a trio of major events spotlighting innovation, investment, and collaboration in the industry.
From high-level conferences to hands-on creative camps, NYC will welcome professionals, artists, and investors for a dynamic exchange of ideas and networking. Here’s a quick introduction to each event, some of their panel topics, and what attendees can expect from each.
Music Investor Conference
The Music Investor Conferenced hosted by David Israelite, CEO and President of the National Music Publishers’ Association (NMPA). This year’s conference will happen tomorrow (June 10) at the Merkin Hall at Kaufman Music Center in New York City.
The 2025 edition of MIC’s agenda includes a dynamic keynote conversation moderated by Israelite, featuring industry leaders Larry Mestel and Sachin Shah. Other panels on offer include “Raising Capital in Uncertain Times,” “Global Revenue Trends,” and “Capital Meets Creativity”—all offering deep insights into music investment, finance, and creative business strategies.
Indie Week (A2IM Indie Week)
Indie Week is hosted by the American Association of Independent Music (A2IM) and is the largest gathering of independents in the music community in the United States. It takes place from June 9 to June 12, 2025 at the InterContinental Hotel in Times Square. This year’s conference features keynote presentations from Cherie Hu (Water & Music), Shira Perlmutter (former U.S. Copyright Office), and a representative from Apple Music.
The agenda covers a wide array of topics including AI in Music, streaming trends, marketing, sync licensing, data analytics, and artist development. Notable panel and workshop titles include ‘Music Investments 101: Unlocking Capital in the Independent Sector,’ ‘Spotify Tools for Audience Development,’ ‘Data Analytics All Stars: Turning Numbers into Music Industry Gold,’ and legal workshops on ethical negotiation and emerging technology law.
Attendees can expect three days of panel discussions, workshops, and networking with industry leaders, plus after-hours mixers and executive one-on-one meetings.
Anti Social Camp
Anti Social Camp is the world’s largest songwriting festival, running from June 9 to June 13 across multiple venues and studios in NYC. The event is free for creators and features over 200 recording sessions at 30 studios as well as 10 public events.
The week kicks off with a conference day at The New School, where celebrity speakers and industry leaders—such as Scott Harris (hit songwriter for Shawn Mendes, The Chainsmokers, and Justin Bieber)—take the stage.
Panel highlights include “Anti Social Women Running Music,” focusing on gender equity and live podcast recordings. The festival also includes the Spotify Industry Showcase, An Evening with Republic Records, industry one-on-ones, and a grand finale gala with performances by artists like Cigarettes After Sex, Beach Bunny, and Bryce Vine.
Attendees can expect a vibrant mix of networking, mentorship, and collaborative songwriting, culminating in a playback party showcasing new music created during the week.
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Goldrush announces 2025 lineup featuring debut ILLENIUM B2B Zeds Dead set

Arizona’s marquee electronic music festival, Goldrush, returns in 2025 with a lineup featuring headliners Excision, ILLENIUM back-to-back Zeds Dead, Major Lazer Soundsystem and more. After a three year hiatus, the western-themed festival makes its grand return to Rawhide Western Town.
Goldrush features a stacked undercard including Benny Benassi, a return set from Getter, HI-LO, Kyle Watson, Rinzen, Space Laces, William Black and more. More artists, including the silent disco, will be added in the near future.
New for this year, Goldrush will be hosting a pre-show pool party at the Gila River Resort & Casino just minutes from the festival grounds. The day party is set to take place Saturday, September 13 in partnership with the Oasis Pool Party Series that was named the Best Pool Party in the Valley.
The highlight of the lineup is the debut ILLENIUM back-to-back Zeds Dead set that’s sure to turn heads with two of bass music’s biggest names on stage together performing as one. Their only previous formal union of any kind was their collaboration “Where The Wild Things Are” that came out back in 2017.
Tickets for Goldrush: The Return to the West – along with Hotel packages, shuttle passes and more – are on sale now.
Featured image: Tritt Visuals
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HarbourView Announces Another $500 Million in Debt Financing, Eyes ‘Entertainment, Media, and Sports Investment Opportunities’

HarbourView Equity Partners founder and CEO Sherrese Clarke. Photo Credit: HarbourView
Moments after acquiring a portion of Rodney Jerkins’ IP, HarbourView Equity Partners has scored $500 million in royalty-backed debt financing from KKR.
Newark-headquartered HarbourView reached out with word of the private-securitization proceeds today, about 15 months after revealing a separate round of KKR debt financing. Technically, the older of the two tranches clocked in at “close to $500 million,” compared to $500 million proper here.
Meanwhile, HarbourView in March 2024 said it intended to use the capital “to expand music investment opportunities.” This time around, though, the business opted to highlight comparatively open-ended plans spanning “entertainment, media, and sports investment opportunities” alike.
It remains to be seen whether the varied focus actually translates into non-music deals, or at least more multifaceted investments.
As things stand, industry vets account for a substantial portion of HarbourView’s team, and the company is said to have scooped up north of 70 song catalogs thus far. The pile of IP includes works from the initially noted Jerkins as well as T-Pain, to name a couple recent additions.
With all that said, April 2024 did see HarbourView invest in Mucho Mas Media, a film and TV company that says it “focuses on Latino communities and Latin America.” Also supporting the diversification possibility is decidedly stiff competition in the catalog arena, which certainly doesn’t lack capital or eager buyers.
Providing a bit of extra insight, HarbourView founder and head Sherrese Clarke reiterated top-level plans to keep on “investing in evergreen intellectual property.”
“We are thrilled to have KKR’s continued support as we further scale the firm,” added Clarke. “This additional capital from KKR will help us accelerate our strategy to align with where the media, sports and entertainment markets are headed. We see a tremendous opportunity to continue investing in evergreen intellectual property, which we believe is historically uncorrelated to broader market volatility and forms a powerful diversification tool.”
Back to the funding side, HarbourView has boosted the song-rights sub-sector’s 2025 debt financing – not overall capital raised, which is even larger – past the $1 billion mark. Influence Media Partners kicked off the year with a $360 million securitization, followed by the $200 million that Duetti pulled down from a pair of facilities in March.
Notably, each of the debt-financing waves saw the involved company diversify in one way or another. Duetti started investing in different kinds of music IP in tandem with its announcement, while Influence last month emphasized a film and television JV component of its DJ Khaled tie-up.
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Interview: Chris & Ginnie, A Bonnaroo Love Story

In 2017, I was preparing for my very first Bonnaroo. Before I worked in the music industry, I barely knew what to pack, let alone how to survive four days off the grid at my first camping festival, surrounded by tens of thousands of strangers and no reliable cell service.
All I knew was this: my high school friends had gone the year before and returned home glowing with stories—sweaty, sun-soaked, blissed out, and begging me to join them for round two. So, without hesitation, I said yes.
When I asked my friends what our plan was, I got an answer you might expect from a group of 21-year-olds: there wasn’t one. The only detail they could offer was that we’d be camping with a group of 40-somethings they had met during the previous Bonnaroo. I started imagining the worst.
Would I be stuck in the Tennessee heat for four days with many washed-up wooks I’d never met, awkwardly sharing tent space and bathroom lines? The excitement in my chest turned to dread. I wondered if I’d made a colossal mistake.
Two years later, in 2019, I cried happy tears at the wedding of two random strangers I’d been so nervous to meet. They’re now my chosen festival family. My Bonna-mom and Bonna-dad. And somehow, we became something more than campmates through many shared sunrises, dusty dancefloors, and tent-side potlucks. We became a tribe.
As we return to “the Farm” for this weekend’s festival, here’s the love story of Chris Payne and Ginnie Hill, the radiant Kentucky couple who unknowingly became the heart of my Bonnaroo journey.
EDM Maniac: Let’s hear your love story! I don’t think I’ve ever heard the official story of how you met.  
Ginnie: It was 2015, and I was with my girlfriends, Amy and Crystal. It was our second Bonnaroo, and I had been divorced, maybe six months at the time. It was Thursday, so we were taking it slow, hanging out, relaxing, and taking pictures under this huge oak tree. I guess Chris was napping on the other side of the oak tree, heard us, woke up, and offered to take a group picture of us.
We started to just chat him up because he’s our age demographic, which isn’t always that typical for festivals. Chris had told us that he was there by himself because his friend bailed two weeks before. After a while, we girls decided to pack up and make our way to the next destination. Crystal said, “Hey, should we get his number?” And Amy said, “Nah, if it’s meant to be, we will run into him again.”
The next day, I was just walking around camp, and we ran right into Chris on his way to get coffee near the Grove. Attendance at Bonnaroo that year was like 80,000, I think, and he was camped literally a two-minute walk from us.
After that, we pretty much adopted him into our group for the whole weekend. By Saturday, I got to know him a little more and started thinking he’s a pretty cool guy. I’m not thinking about hooking up, I’m in my mid-forties, but it was fun to flirt. I told myself I’d just see what happens. We hang out the entire weekend, I’m flirting with him, he’s not really flirting back, so I figured he’s just not into it.
At the end of the weekend, we did the whole “let’s keep in touch” thing that you do when you’re saying goodbye to someone. But then, a month later, he came to visit me in Kentucky from Chicago. We did long-distance for a while, which was hard because I had my daughter Fiona, who was 3 years old at the time.
After about two years of long-distance, he moved down to Kentucky to be with me, and a year after that, he proposed to me at Bonnaroo at the same oak tree we met at.
EDM Maniac: That feels like fate to me! What made you want to propose at Bonnaroo?
Chris: It was a special place for us. We are our best humans at Bonnaroo, sometimes under the worst conditions [laughing].
Ginnie: I always told him it could only go up from here because I met him sweaty and gross with no makeup on.
EDM Maniac: Your wedding is still one of my favorite memories. How did having your Bonnafam surround you on your wedding day feel?
Ginnie: We loved it. It was absolutely amazing. I felt like every single one of my mini worlds collided in such a beautiful way. Amy said it best herself: “I’ve never seen so many cool motherfuckers in one place.”
EDM Maniac: Now that I’m talking about it, I don’t even know how we met you. How did you meet my friend group that year I wasn’t there?
Chris: Oh man, this story is great. I brought the RV that year with some Chicago friends, but that was way back when RV camping was all the way by the highway and super far. We had plans to meet up with Ginnie, Jenny, Crystal, and Amy, and we kind of just moved into their campsite with them.
Your friend group’s campsite was next to the girls, and I remember walking by like, “What are these kids doing? They’re sleeping on the ground; all they have is a canopy and a tent that is barely set up.”
I brought a bunch of camping gear with me that we weren’t using, so I just started throwing air mattresses and blankets into their camp so they had something to sleep on.
EDM Maniac: OMG, I’m so embarrassed for them.
Chris: They didn’t even have food. They had a bag of bologna and some bread. But, of course, we had a whole setup, so we fed them food all weekend long, and from that point on, they were basically adopted.
EDM Maniac: That is such a funny perspective. From my end, my friends told me that we were camping with some 40-year-olds they met last year, and I’m like, “Who are these people?”
Ginnie: [Laughing] I bet you thought we were creepy old people.
EDM Maniac: Meanwhile, it’s my friends who are the menaces. I met you all in person, and I knew immediately it was going to be the best weekend of my life.
EDM Maniac: Chris, it seems like you’ve mastered attending Roo alone. Do you have any advice for those attending alone?
Chris: Don’t be afraid. Everyone is there to do the same thing you are. Be brave; look at it as an adventure. You’re never truly going to be alone.
EDM Maniac: Do you think you’ll ever bring Fiona to Bonnaroo with you?
Ginnie: Chris wanted to start bringing her when she was 8! I think maybe when we are too old to really party.
Chris: We will never be too old to party.
Featured image courtesy: Bonnaroo Music & Arts Festival.
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Indie Songwriters Bristling Over ‘Closed-Door’ Major Label AI Negotiations, Demand ‘Open, Legislative Dialog and Process’

Photo Credit: Soundtrap
Indie songwriters and composers are frustrated at the major labels’ “closed-door” AI negotiations and demand an open process.
Independent songwriters and composers have heard this song before; Bloomberg reports that major multi-national record labels are engaged in closed-door meetings with yet another group of tech companies over AI negotiations and copyright infringement liability. Unsurprisingly, independent music creators may as well be invisible in these discussions—despite the fact these talks may completely change the landscape of the professional, artistic, and financial futures of these artists.
Major labels previously sued tech companies operating generative artificial intelligence (GenAI) systems Udio and Suno in a bid to head them off from scraping and incorporating millions of musical compositions and recordings into their training databases without license or permission. But now they’re at the negotiation table to hash out a deal that won’t benefit the creators behind these compositions and recordings.
“‘Training’ in this instance (as is often the case with Silicon Valley jargon), really means ‘ingesting’ existing copyrighted music without authorization, and enabling algorithmic output of unauthorized derivative works, the value of which will accrue solely to the benefit of the GenAI companies without royalty payments of any kind to the original human creators,” reads a statement issued by the Songwriters Guild of America (SGA), the Society of Composers & Lyricists (SCL), and Music Creators North America (MCNA). The statement comes in time to kick off Music Week in New York City.
“This situation is sadly reminiscent of past, backroom music industry deals from which creators were essentially excluded, resulting in grossly unfair, opaque, industry-wide arrangements between international conglomerates under which all parties but creators and artists benefitted,” their statement continues. “The catastrophe of untenable music streaming royalty rates is just one example among many of how these so-called ‘equity deals’ can result in the devaluation of music in ways that make it nearly impossible to earn a living as a music creator. We cannot allow this history to repeat itself.”
The aforementioned music industry organizations ask for the benefit of an “open, legislative dialog and process whereby all details are disclosed to the affected parties and market competition is preserved.”
“It should be with the disclosure of how licensing guidelines will be negotiated and implemented shared with creators, how creators may opt in or out of input ‘training’ systems, how back-end royalties on output will be generated and shared, how the one-third of music creators not affiliated with the majors will be provided with safeguards from being excluded from the licensing marketplace, and certainly not least of all, how the conflicts of interest created by vertical integration, consolidation, and equity stakes will be addressed and mitigated in the framing of US and international GenAI licensing solutions.”
“[Independent music creators] want meaningful input and seats at the table in a legislative process that should take precedence over secretive, backroom deals among multi-billion-dollar corporations that prize only raw, short-term profit,” they write. “We want the legislative implementation of rules that will create a fair and sustainable GenAI ecosystem nationally and globally. And we want a market environment that allows all businesses and creators to thrive, along with the preservation and advancement of American and global musical culture.”
The US-based organizations join their worldwide music creator and artist colleagues, including Fair Trade Music International, the UK Musicians’ Union, the Ivors Academy, and numerous others, in making these points and demands. “As the major companies and their trade associations prepare to announce the ‘industry-wide solutions’ they’ve negotiated without consultation with those who actually create the cultural product on which our industry rests, we have just one thing to say: We ‘Won’t Get Fooled Again.’”
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New York State Ticketing Resale Restrictions Suddenly Stalled—’They Protected Profiteers Exploiting the System’

Photo Credit: Paul Cuad
State legislation that would put resale restrictions on New York ticket resellers has been stalled until next year. In the meantime, an extension of existing ticketing laws has been introduced.
Bills that would place new restrictions on New York State ticket resellers have been postponed until next year at the earliest. In the interim, an extension of existing ticketing laws through the end of June 2026 were introduced over the weekend.
The bills would have established “refund rights” and put restrictions on speculative ticketing. In addition, they included some artist controls on resale, as well as a cap on ticket fees in larger venues.
The New York Senate’s original ticketing bill, S.8221, and Assembly Bill A8659, were introduced by Democratic Representatives Carroll, Kelles, Rosenthal, and Gallagher. In the State Senate, it was introduced by Democratic Senator Skoufis.
Music organizations, including NITO (National Independent Talent Organization) and the Music Artists Coalition, had previously endorsed both bills. Music Artists Coalition board members include big names in the industry, such as Irving Azoff, Coran Capshaw, Ali Harnell, John Silva, and Don Henley.
“It’s deeply disappointing that the New York State Legislature is not moving forward with Assembly Bill A8659 and Senate Bill S8221. Senator Skoufis and Assemblymember Kim fought tirelessly for a bill that would have protected fans—not scalpers—by capping predatory fees, banning speculative ticket listings, and giving artists more control over how their tickets are resold,” said music manager and ticketing reform advocate Randy Nichols.
“Unfortunately, legislative leadership caved to pressure from the powerful, private equity-backed, multi-billion dollar ticket scalping industry and their well-funded lobbyists. This was a chance to put New York fans first, and instead, they protected profiteers exploiting the system. We hope to return next session and work to educate leadership—just as we did with Skoufis and Kim—so they can better understand the problem and the urgent need to protect fans, not scalpers.”
Meanwhile, the Coalition for Ticket Fairness (CTF) declared victory—for now. “The one-year extension leaves the door open for another attempt to push harmful amendments into law,” said the CTF. “We fully expect this issue to return next year—and we’ll be ready.”
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Sorting Out the Sony, Hipgnosis, and Recognition Music Group Deal

Photo Credit: Stephen Yablon Architecture
The music industry was abuzz yesterday following reports that Sony Music Publishing is acquiring Hipgnosis Songs Group (HSG). The news has left many scratching their heads over the tangled web of company names, catalogs, and ownership stakes.
This confusion stems from the recent rebranding of Hipgnosis to Recognition Music Group (RMG), a move that consolidated several Hipgnosis entities under the new Recognition banner just three months ago. While the rebrand aimed to streamline operations and clarify the company’s structure, the subsequent rumor of sale of HSG to Sony has muddied the waters for industry observers and songwriters alike.
Many people assumed that the entire Hipgnosis catalog was changing hands, but in reality, Sony is only acquiring the Hipgnosis Songs Group division—a significant but not all-encompassing slice of the Hipgnosis pie. The Hipgnosis Songs Group catalog includes copyrights original held by Big Deal Music. That catalog features songs by One Direction, Panic! At the Disco, Shawn Mendes, and more. Sony will now administer these works and serve as the publisher for HSG’s roster of songwriters.
Adding to the confusion, Recognition Music Group continues to own and manage a vast trove of music assets. Recognition still oversees more than 45,000 songs and recordings from over 145 catalogs, including many of the most iconic songs ever recorded by artists such as the Red Hot Chili Peppers, Fleetwood Mac, Neil Young, Eurythmics, Justin Bieber, Shakira, and Journey. These assets remain under Recognition’s control and are not part of the Sony deal.
Another key detail often overlooked is that Blackstone remains the majority owner of the broader Hipgnosis/Recognition portfolio. While Sony is acquiring HSG, the bulk of Hipgnosis’ legendary catalogs—including those managed by Recognition—are still under Blackstone’s stewardship. While the Sony acquisition is a major move, it represents only a portion of the Hipgnosis/Recognition empire.
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Check Out MRAK’s Curated Day at Afterlife Festival

The Afterlife Festival Barcelona 2025 previously released, confirming a two day debut at the Circuit de Barcelona-Catalunya on June 13–14. What sets this edition apart is the artistic split between the minds behind Tale of Us with MRAK, the solo alias of Carmine Conte, curating Day Two on Saturday, June 14.
While Anyma (Matteo Milleri) will craft the Friday experience, Saturday belongs entirely to MRAK a visionary known for bringing storytelling, emotion, and conceptual performance into the world of melodic techno. His curation for Day Two reflects a deeper, more introspective creative path where music becomes a vehicle for transformation, not just entertainment.
MRAK’s lineup reads like a personal narrative: CamelPhat, Layla Benitez, Gordo, 19:26, Omnya, 8KAYS, Alfa Romero, Asal, Øostil, EarthLife, and MRAK himself will perform across two custom-designed stages. Expect a day that fuses emotional depth with experimental edge true to the immersive spirit of his We Don’t Follow tour.
Where Tale of Us helped shape the sonic identity of Afterlife, MRAK pushes that identity further, venturing into the conceptual and cinematic. His curation promises a festival experience built not just on rhythm, but on connection, reflection, and narrative.
The Barcelona edition also follows the announcement of a second Afterlife Festival in Mexico City, marking a new global phase for the brand. As Afterlife continues to evolve, MRAK’s contribution stands as a creative anchor an opportunity for longtime fans and new listeners alike to experience the brand through his lens.
Tickets for Afterlife Festival Barcelona 2025 are on sale now via Resident Advisor and the official Afterlife site.
The post Check Out MRAK’s Curated Day at Afterlife Festival appeared first on EDMTunes.
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Lil Wayne Kicks Off North American Tour with MSG Sellout, Though ‘Tha Carter VI’ Streams are Underwhelming

Photo Credit: Lil Wayne by Phillip Lopez
Lil Wayne’s North American tour started with a MSG sellout, despite Tha Carter VI launching to underwhelming first-day streams.
Lil Wayne started off his North American tour with a bang, with a sold-out show at Madison Square Garden—his first ever headlining appearance at the venue. The performance coincided with the arrival of Tha Carter VI, the sixth chapter in his album series.
Despite the fan enthusiasm for Wayne’s tour, his latest album has launched to a less than stellar number of first-day streams. His first solo album in five years, Tha Carter VI was released on Friday, and has received its share of negative reviews already.
According to reports, the new album raked in an underwhelming 14.2 million first-day streams on Spotify. In contrast, his previous album in the series, Tha Carter V, released in 2018, debuted to an impressive 66 million streams. Should the album fail to sell enough units to bump Morgan Wallen off the top of the Billboard 200, it will be the first solo Wayne project since 2015 to not debut at the top of the charts.
The new 29-track album features a slew of guest spots from artists like 2 Chainz, Kodak Black, Machine Gun Kelly, and Big Sean. Further, it features some unlikely artists, including opera singer Andrea Bocelli, country sensation Jelly Roll, and Fugees legend Wyclef Jean. It also features U2’s Bono alongside Lil Wayne, whose vocals could be heard on the track “The Days,” which debuted last week during a promo for the NBA Finals.
Just days before the album released, Lil Wayne announced his Tha Carter VI Tour, a special North American run celebrating the release of the highly anticipated project and over 20 years of his career. The tour officially kicks off in Bristow, VA at Jiffy Lube Live on July 30, then hits major cities including Toronto, Detroit, and Los Angeles, before concluding in West Palm Beach, FL at the iTHINK Financial Amphitheatre on October 2.
Lil Wayne’s Tha Carter VI North American Tour
August
08 | Empower Federal Credit Union Amphitheater at Lakeview – Syracuse, NY 09 | Darien Lake Amphitheater – Buffalo, NY 11 | Budweiser Stage – Toronto, ON 14 | Blossom Music Center – Cuyahoga Falls, OH 16 | Riverbend Music Center – Cincinnati, OH 17 | Ruoff Music Center – Noblesville, IN 20 | Target Center – Minneapolis, MN 22 | American Family Insurance Amphitheater – Milwaukee, WI 23 | Little Caesars Arena – Detroit, MI 24 | Credit Union 1 Amphitheatre – Tinley Park, IL 26 | T-Mobile Center – Kansas City, MO 29 | Talking Stick Resort Amphitheatre – Phoenix, AZ September
01 | Cascades Amphitheater – Ridgefield, WA 03 | Climate Pledge Arena – Seattle, WA 05 | Shoreline Amphitheatre – Mountain View, CA 06 | Golden 1 Center – Sacramento, CA 10 | North Island Credit Union Amphitheatre – Chula Vista, CA 12 | Crypto.com Arena – Los Angeles, CA 14 | Isleta Amphitheater – Albuquerque, NM 16 | Germania Insurance Amphitheater – Austin, TX 17 | Dos Equis Pavilion – Dallas, TX 18 | The Cynthia Woods Mitchell Pavilion Presented by Huntsman – The Woodlands, TX 22 | Paycom Center – Oklahoma City, OK 24 | The Orion Amphitheater – Huntsville, AL 25 | PNC Music Pavilion – Charlotte, NC 29 | State Farm Arena – Atlanta, GA October
01 | Kia Center – Orlando, FL 02 | iTHINK Financial Amphitheatre – West Palm Beach, FL View the full article
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United Integrates Spotify Into Seatbacks—Will It Catch on With Other Airlines?

Photo Credit: United Airlines
United Airlines has announced it will integrate Spotify into the seatback entertainment display on 680 planes in its fleet—for more than 130,000 screens.
The move is a clear upgrade to in-flight entertainment options, offering passengers access to over 450 hours of curated playlists, podcasts, and audiobooks—a first for any airline. However, the partnership is limited to curated content with no ability for passengers to use their own Spotify accounts.
United has replaced the generic ‘audio’ category with a dedicated ‘Spotify’ section on its seatback entertainment displays. Passengers can now access popular content like “Good Hang with Amy Poehler,” and “The Dave Chang Show,” alongside a wide array of curated music playlists. This move is notable for passengers who enjoy audiobooks and video playlists, which have not previously been available on seatback displays. The addition of Bluetooth audio compatibility with the screens allows travelers to use their own wireless headphones.
While the initial rollout offers a curated selection of content, it does not yet allow passengers to log into their personal Spotify Accounts. United says that feature is coming in 2026. Until then, the feature will remain largely generic with little personalization for users who have built an extensive library of playlists and favorite audio content on Spotify.
This limitation is especially noticeable given how much Spotify focuses on user personalization—the pre-selected audio shows will always be Spotify-produced content rather than content available on Spotify (but not necessarily produced by the audio giant).
“As a frequent United flyer myself, it’s incredibly exciting to see Spotify now available on the world’s largest airline,” said Ian Geller, VP of Business Development at Spotify. “At Spotify, we’re dedicated to being everywhere our users are, giving creators opportunities to reach new platforms and engage different audiences. I’m especially looking forward to bringing an even more personalized app streaming experience to seatbacks next year.”
Another point of contention for this update is the reliance on satellite connectivity for streaming. While United’s partnership with Starlink enables free streaming of Spotify content on personal devices for some flights—not all aircraft are equipped with this tech. This creates an inconsistent experience across the fleet—which is something United excels at doing.
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Exceleration Music Acquires Cooking Vinyl, Doubles Down on ‘Mission to Invest in Market-Leading Independents Globally’

Cooking Vinyl managing director Rob Collins (left) and chairman Martin Goldschmidt, who’ve sold their company to Exceleration Music. Photo Credit: Cooking Vinyl
Now touting itself as a “viable alternative to the major label-owned distribution and services models,” Exceleration Music has purchased UK-based indie Cooking Vinyl.
The expansion-minded Exceleration and “the originator of artist services” Cooking Vinyl formally announced their deal today. Founded just shy of 40 years back, Cooking is poised to leverage Exceleration’s Redeye Worldwide distribution platform and wider global infrastructure, the parties summed up.
Meanwhile, the Bloodshot Records and Mack Avenue owner Exceleration intends to tap into Cooking’s “renowned artist marketing expertise.” And as the newly united businesses see things, that’ll fuel “a more powerful, integrated, multi-territory offering.”
On the logistics and personnel front, Cooking – which has released projects from The Jesus & Mary Chain, Shed Seven, The Fratellis, and Roger Waters, to name a few – “will continue to operate independently” post-transaction.
With Cooking’s Rob Collins remaining MD and founder Martin Goldschmidt still serving as chairman, this presumably means the label will keep on offering what it describes as “bespoke services-only contracts that claim no stake in artists’ copyrights.”
In any event, the freshly inked deal doesn’t extend to Cooking Vinyl Publishing UK, Cooking Vinyl Publishing Australia, or licensing platform Motus Music, per the involved companies, which opted against divulging price-tag particulars.
But in a statement, Collins billed the sale as a major win for his label, which has also released works from Swim Deep, the Wandering Hearts, Ladytron, and Kiefer Sutherland.
“Our artists will still benefit from our close-knit, highly personalised team that combines deep industry expertise with old-fashioned hard graft,” Collins said in part. “But now, with the expanded U.S. capabilities, enhanced resources, and the broader global reach of the Exceleration structure, we’re able to offer even stronger support to our current and future roster.”
Additionally, Exceleration managing partner Glen Barros described the Cooking Vinyl buyout as “a significant step forward” in his company’s “mission to invest in market-leading independents globally.”
“Cooking Vinyl not only brings a set of remarkable artists into our orbit,” proceeded the former Concord head, “but their team adds an important piece to the puzzle for Exceleration’s Artist and Label Services capabilities, including enhancing Redeye Distribution outside of the U.S. Their history of chart and commercial success aligns perfectly with our long-term vision.”
Not even halfway finished, 2025 has already delivered a long list of label sales – including but not limited to plays for !K7, Monstercat, Dome Records, Gotee Records, New State, and the aforementioned Mack Avenue.
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Give your mixes a lo-fi flavour with the second iteration of Lese’s Codec plugin

Lese has launched the second version of its Codec plugin, which uses internet compression algorithms to give your mixes a vintage, lo-fi quality.
Codec 2.0 introduced a smattering of new features designed to give you greater control over how your mixes are affected.
READ MORE: The best free and paid-for plugins you need to know about this week
Essentially, Codec divides an audio file into individual packets, and users can drop some of them out using its Loss control. The plugin then attempts to conceal the packet loss, leading to a digitally degraded sound. Additionally, there’s a choice of three modes, with each affecting how the packet loss is handled by the plugin.
New to Codec 2.0, though, is a new Disorder control, which tweaks the order of the packets processed by the internal decoder to create a somewhat glitchy effect, and a new Noise function which adds noise to an audio file before it’s fed into the encoder.

Before the encoding stage, a Crunch control lets you turn up the gain on a frequency range and dials it back down once the plugin compresses the audio. This helps you to create more distortion artefacts on your track without any extra volume.
“Unlike other plugins that simulate degradation in “old school” ways like vinyl, tape or cassette, Codec degrades sound in the most common way we hear today, through internet compression algorithms!” Lese explains.
“Codec is essentially a container that holds an audio compressor (not that kind of compressor) so you can compress and then decompress your sound, in real time, in your DAW of choice.”
Codec 2.0 is available to both PC and Mac users in AU and VST formats. You can download it free of charge from Lese.
The post Give your mixes a lo-fi flavour with the second iteration of Lese’s Codec plugin appeared first on MusicTech.
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Sonus Croatia 2025 Unleashes Full Lineup, Brand Partners, and Opening Party

Sonus Croatia just revealed the complete lineup, new brand partners, and Opening Party details for its 2025 edition, and it’s shaping up to be one of the most expansive in the festival’s 12-year history. Set to take place August 17–21, 2025 on the iconic Zrće Beach on Pag Island, this year’s edition welcomes 74 artists across five days of electronic music bliss on the Adriatic coast.
Returning with the backing of Time Warp, We Love Sound, and Insomniac, Sonus promises an expertly curated sonic experience spanning beachfront clubs, legendary boat parties, and intimate afterparties. The newly announced acts include rising stars and regional favorites such as SYREETA, Thunderpony, Ani., Tea Vuckovic, GLIA, and Tom Bug, joining a heavyweight lineup featuring Adam Beyer, ARTBAT, Ricardo Villalobos, Ben Klock, Indira Paganotto, Sven Väth, and many more.
The festivities start early with an Opening Party at Aquarius on August 16, headlined by minimal and tech house powerhouse East End Dubs, Dutch groove master Franky Rizardo, and Croatian favorite Elena Mikac.
In terms of production partners, Sonus levels up again in 2025. Joining forces with global tastemakers like Space Miami, Factory 93, FUSE, and Nordstern, this year’s edition also brings on fresh collaborators including Decibel Open Air (Italy), The Bassement (Spain), Kiesgrube (Germany), and Keep On Dancing (Ibiza), expanding the festival’s global reach and clubbing pedigree.
The venue spread includes Aquarius, Papaya, Kalypso, and Noa Beach Club—with the latter featuring a first-ever stage experience that lets guests swim and dance in the sea during live sets. Beyond the beats, Pag Island offers outdoor adventure and relaxation, from cliffside hikes and water sports to fine local cuisine and beachside glamping.
Photo Courtesy of Sonus Festival // Credit: Dino Ninkovic “There is no finer blend of forward-thinking music, escapist beauty, and natural charm than at Sonus Croatia,” festival reps said in a release, underscoring the event’s continuing collaboration with the Croatian National Tourist Board.
Full Lineup Highlights Include (A-Z):
Adam Beyer, Adriatique, ARTBAT, Bedouin, Ben Klock, Ben Sterling, DJ HEARTSTRING, FJAAK, Franky Rizardo, Indira Paganotto, Joseph Capriati b2b Seth Troxler, Loco Dice, Ricardo Villalobos, Richie Hawtin, Sven Väth, SYREETA, Thunderpony, and many more.
Opening Party – August 16 @ Aquarius:
East End Dubs, Franky Rizardo, Elena Mikac
According to organizers, only second-tier tickets remain, with a limited-time €50 discount on packages that include both accommodation and all-festival passes. Day tickets are set to go live next week. Head to sonuscroatia.com to lock in your experience.
The post Sonus Croatia 2025 Unleashes Full Lineup, Brand Partners, and Opening Party appeared first on EDMTunes.
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